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Tere O’Connor Cynthia Oliver, center, and other associates of the troupe in “Bleed,” at the Brooklyn Academy of Audio.

Tere O’Connor’s “Bleed” is an hourlong dance. It is not a story. It is not music produced noticeable. It does not comply with an proven or predictable kind. It is not random. It is not dull.

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It may possibly be helpful to listing some of the factors that “Bleed” is not, because this masterly function, which debuted at the Fishman Area at the Brooklyn Academy of Songs on Wednesday, can seem to be to contain every little thing. The motion incorporates bits of ballet, gestures normal and obsessive, formal creation and flares of drama, the virtuosic and the informal, all taken care of equally. And the elements can appear to be blended, sequenced, in every attainable way: stitched, braided, rammed, shuffled, juxtaposed and, yes, bled together.

The overall impact of profusion elicits this common see, but each and every second is strikingly singular. Every single of the eleven dancers is a unique, intriguing specific. Considerably of the drama in Mr. O’Connor’s artwork is interpersonal and intimate, and he selects performers who can give life to his abstractions by dwelling in them. The age selection is broad listed here — from people in their 20s to the veterans David Thomson and Cynthia Oliver. Individuals two are of Mr. O’Connor’s technology (he’s 55) but new to his work Heather Olson has been dancing with him for seventeen years.

Their intermingling has refined consequences. The relatively massive size of the solid not only will increase the multiplicity, with many bodies in motion or standing even now, but also the effect of collective action: a threshing machine of overlapping complexity or unexpected unison. Mr. O’Connor is towards resolution and limiting definitions but not in opposition to dynamic shape. There is acceleration, crescendos that build to screams.

The drama is frequently at the edge of melodrama, of self-parody. The sharp swerves in tone are typically humorous, but some of the content is actually foolish. Uncompromising investigation of choreography as a mirror of human consciousness does not have to exclude entertaining.

James Baker’s score supports the dance surprisingly effectively. A shuttling seem, as in a textile mill, is precisely right for the jostling and jerking of Ms. Olson’s opening solo pots-and-pans percussion, wind, silence and ethereal voices support guidebook a viewer by way of the shifts and heighten the ritual top quality.

What is the ritual? Ms. Olson continuously has a match and falls. Oisin Monaghan, looking with his white-blond curls like a vain prince from “Game of Thrones,” periodically lies on his again in the middle of everybody, as if in an occult ceremony. In reaction to intermittent flashes of light-weight, all of the dancers cry out, tilt back again their heads, make O’s with their mouths, and stamp.

These moments return but only to veer off in a new direction. That the operate does not need anything at all is element of its obstacle. If “Bleed” finishes, it finishes in your brain.